I have long been attracted by the symmetries and purity of form exhibited by geometrical and crystalline figures and the possibilities that they offer as the subjects of visual representation. Of course Geometry (and Crystallography) are ruled and bounded by mathematical classification. Nevertheless, the graphic possibilities they offer are infinite…
GFLOG
CFCOL
PPCOL
I coined the term ‘Fluid Geometry’ to describe the particular family of non-linear, dynamic configurations that can be found across a whole range of sources; from biology, geology and physics. These anistropic formations, often self-organising, can originate through such diverse processes as ‘spiral-defect Chaos’, swirling vortices, spinodal decomposition and reaction/diffusion systems. They clearly offer great possibilities for Graphic design.
FGCOL
The advent of the computer has changed the world forever - and Art in general can never be impervious to this universal influence. The trick, it seems to me, is not to allow it to become master - that is to say for the extraordinary available techniques to take over and subvert any original artistic intentions. This is a powerful, but seductive, tool.
The graphics in these collections are simply composites, of earlier work, juxtaposed in various, hopefully engaging, combinations.
The influences on my earlier sculptural work were the geometries of regular and semi-regular polyhedral, the structural forms found in crystals (and crystallography), and the massive geometrical monuments of the Ancient World. It has long seemed to me that, considerations of scale apart, there are clear and fairly obvious points of comparison in the appearance of these different modalities. They are all relatively simple, highly geometric and project an enduring, transcendent quality - features that, of course, account for their aesthetic appeal. I do not feel over-precious or over-protective about this work. It seems perfectly valid to employ the assistance of others in its making, or indeed for some of it to be entirely manufactured by those with the skills and equipment needed to carry out commissions. Equally, as a conscious reaction against the over-inflated values (and egos) associated with so much Art these days, I’m perfectly happy to have any of my work replicated, or for others to make their own versions or copies of it. And in this same, post-modern spirit, these structures are not carved out of the fine stones associated with traditional sculpture, but have been made using conventional construction materials – primarily, cut and welded steel, concrete, and cement-based products. More recently I have been exploring the possibilities of smaller, painted models.
I have long been interested in the technique of oil-marbling (in which dilute oil-colours are floated on a dilute-gum base). In more recent times I have explored the possibilities of photo-shopping these productions.
The artwork here is a relic of past explorations, from Celtic interlacings, Islamic Geometricism, Optical Illusions and other visual byways.
Looking down a microscope at mineral and crystalline formations (particularly if illuminated by the magic of polarised light), is to enter a whole new, dazzling world of aesthetic wonders.
